What we like

Osmanthus does not categorize by genre. Our work investigates the zones beyond the text that creep and bleed to evoke an eerie recognition of something that came before. We are interested in work that is ambiguous: writing that employs form and artifice, but at the same time recognizes its artifice.

Currently, the writing we are interested in engages with shopping malls and abandoned shopping malls, floating ghost fleets of shipping containers in the Pacific Ocean, and corporations mining the earth for precious elements. Towards the environmental impact of placing servers beneath the ocean’s surface as a means to cool the server. Disembodiedness. We’re interested in empathy and nature documentaries.

We love writing that considers the natural environment and how the natural environment seeks to reimagine and retell its story. We love writing that uses the natural environment to try (and fail) to embody some element of the human experience. Consider trees and deep-time, memory and the act of trudging forward through forgetfulness and unlearning. The writing can be fragmentary, nonsequential, absent-minded, and full of holes. Writing about nature and the environment is an act of commemoration, yet a way to forget about nature.

We seek to publish chapbooks. Non-chapbook submissions will be considered for the weekly online feature called Clippings from Toad Palace. Submissions with an audio-visual element are encouraged for the online edition.

The light is on, are you there?

submission instructions

We have two types of submissions – chapbook submissions & the weekly Clippings from Toad Palace submissions.

To be considered, send us an email — with “SUBMISSION – Title of Your Submission” in the email subject line.

For chapbooks: prose work (between 3,500–10,000 words), or up to 48 pages of poetry. Osmanthus chapbooks usually run from 24-48 pages. For a more hybrid form, submit under the assumption that the book’s maximum page count will be ~48 pages. Submit in one .docx / PDF, clearly indicating the start of each piece.

For Clippings in Toad Palace: prose features, no longer than 3,500 words. Poetry feel free to submit up to 5 poems, no longer than 12 pages. We’re good to read submissions that border the maximum limit. Other video poetry, sound poetry, or other digital forms of text-artifacts are accepted as well. Feel free to query the editors if unsure about a projects fit for the Osmanthus’ Clippings from Toad Palace.

Essays and works in translation should follow the respective criterion for prose and poems stated above. Please attach authorial consent when submitting work in translation. Going with the genre ambiguity, there are no strict limits concerning form.

Taste is similar to the above-mentioned, a book that knows it is a book.

Please email manuscripts to Jon Miller at

please note

Simultaneous submissions are encouraged but please let us know immediately if the work is accepted elsewhere.

Thank you for trusting us with your writing.

We’re good about reading work quickly and getting back to the writer. If the writer feels that the editors are taking exceptionally long, please reach out and query the editors. When querying or withdrawing a piece, please include your name and submission’s title

For submissions, submit all work to